“Forbidden Fruits” (2026)
Not every film can make a shopping mall feel both magical and menacing, but Forbidden Fruits challenges that.

A featureless street on an industrial estate in Bonn – desolate, unfinished and inconspicuous. The street bears the name of a child. It is meant to commemorate the racially motivated terrorist attack that this child did not survive. A public memorial, consigned to no man’s land. A film against collective amnesia.
Not every film can make a shopping mall feel both magical and menacing, but Forbidden Fruits challenges that.
The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
'Don't Lose Your Head' follows the motto of "grades aren't everything."
The thing is, people like Wahlberg will only apologize if they have something to lose, which he did. His glamorous life, his reputation, and his career were all at stake.